Artists presented in this focus deal with different issues symptomatic of today’s society. Coming from different countries and backgrounds, some of them choose to focus on global matters, while others concentrate on what is going on in their homelands.
Projection (velvet), 2013
Projection (velvet) (2013) relates to a body of work that Hatoum has produced – including various sculptures and works on paper – which depict a world map, using the less familiar Gall-Peters projection. This view of the world appears more unusual since it presents land masses according to their relative proportions, rather than from the distorting and more commonly used Northern-hemisphere perspective. Created from lustrous silk velvet, the land masses here seem worn away, laser burnt out of the material surface to suggest a scorched geography of depleted terrains or eroded landscapes rather than solid territory.
Hatoum’s work often explores the themes of precarious national borders and unstable global states, in particular through the form of maps or through a process of mapping. Similarly to other works, in Projection (velvet) Hatoum employs a kind of sculptural inversion – whereby landmasses are rendered as negative space – to highlight a notion of unfamiliarity and instability.
Carving coal, since 4000 BC (I). From the series In advance of the broken model, 2018
Green Art Gallery
Sable Elyse Smith
8423 Days, 2020
Le fossé, 2020
“The past is vague and the future is uncertain, only the present is concrete, so human must live in their time with every requirements, instead of taking refuge in a past that belongs to our fathers or projecting himself into the uncertain future. “
For the Malian artist, art is a high medium of expression, that should encourage us to question the human faculty of adaptation to the contemporary environment.
« This is a painting I made in August 2020, a few weeks after the coup in Mali. I realized that the people in charge of the management of the country do not touch the ground, do not understand the atmosphere. And those who trusted them, do not believe them anymore.” Amadou Sanogo
We are with you in the night , 2008
Air de Paris
Thu Van Tran
Rainbow Herbicides, 2020
Meessen De Clercq
Made patiently with graphite,Rainbow Herbicides seems to be composed of details of clouds, avalanches or pyroclastic flows. The meticulous pencil drawing is stained with several splashes of colour coming from aerosols, which refer to the names of defoliants used by the U.S. military during the Vietnam War (agent pink, agent purple, agent orange, ….). Thu Van Tran evokes the indelible scars that will mark the country and its people forever. The slow movement of the drawing is compared here with the speed of the spray of colour, which intensifies the dramatic appearance.
Working across a range of forms and materials, Thu van Tran (°1979, Ho Chi Minh City) uses her own experience as a cultural outsider – a Vietnamesewoman living in France – to explore physical and cultural displacement and history of colonialism, subjects that have become poignantly relevant in today’s climate.
The loose ends of our dripping culture, 2020
Kapusta’s droplet-shaped acrylic glass works ooze and spill. They are poetic fragments which function as slogans, intimate calls and invitations to the audience. They speak directly to whoever is reading. They address.
The text on these acrylic glass works refer and reiterate parts of the soundtrack of her latest video The Leaking Bodies.
Kapusta’s large scale installation The Leaking Bodies Series traces the connection between capital, migration, toxicity, activism, health and identity through the routes of fluids, linking acts such as the privatisation of drinking water and the forestation of crude oil streams. The installation weaves stories about leaking pipelines, contamination of water and terrain, ecological protest, identity and the permeability of our bodies and borders.
Martin Le Chevallier
Obsolete Heroes : Samuel J. Crumbine, inventeur du gobelet jetable, 2020
Jousse entreprise – Art contemporain
Since the end of the 1990s, Martin Le Chevallier (1968, France) has been developing a substantial body of work with a contextual approaches that lend themselves better to political work: actions, processes, performances, site-specific installations, etc. The constant in all these works, regardless of the medium, is the critical eye he brings to bear on the contemporary world and the way in which he interferes with it. Voluntarily ironic, his creations borrow to our time the tools and processes that characterises it. Thus, after having evoked the dreams of social control by a video surveillance game, the consumerist pathologies by a telephonic vocal server, or the securitarian utopia by a trailer of what is awaiting us, he employs himself to found these representations on an interference with reality.
“Obsolete Heroes” is a series of portraits of engineers, managers or theorists who have contributed to the development of one of the pillars of the capitalist system: planned obsolescence. These portraits of “heroes” are themselves subject to this principle of obsolescence. They are condemned sooner or later. One day or another, these images will suddenly disappear, catching fire. But we don’t know when …